The boulevard was the place where members of the different social classes, normally living in strict segregation, encountered one another. It was here that the bourgeois crossed paths with the prostitute, and where aristocratic and working-class women stood side-by-side to admire shop-window displays.
In his print The Uniform, Hermann-Paul showed an intersection where soldier and priest, capitalist and proletarian, man and woman, young and old cross paths.
Yet despite this, there is no true interaction between the different types in their respective ‘uniforms’: each hurries past the other, their haste emphasised by the clock on the wall.
Pierre Bonnard took a walk through Paris every morning, soaking up fleeting impressions of the city and chance encounters in the street.
Back at his studio, he combined these fragmentary images in his paintings and prints.
Charles Baudelaire, Le Peintre de la vie moderne, 1863
Ursula Perucchi-Petri, Die Nabis und das moderne Paris. Bonnard, Vuillard, Vallotton und Toulouse-Lautrec, aus der Sammlung Arthur und Hedy Hahnloser-Bühler und aus Schweizer Museums- und Privatbesitz, Bern 2011
Bridget Alsdorf, ‘Bonnard’s Sidewalk Theater’, Nonsite 14, 2014 nonsite.org